Indigenous designers say fast-fashion can’t compete with sustainability

Indigenous designers say fast-fashion can’t compete with sustainability

Whether it’s a pair of fringe earrings or a stunning dress, some local Indigenous designers are working to promote sustainability behind every single one of their statement pieces.

Erica Batten is an Indigenous designer and owner of Batts ‘n Barnacles, a custom production fashion line in London, Ont. She often finds inspiration for her fashion lines by spending time in nature. She is now producing designs based on sustainability, a common Indigenous practice.

One of her outfits has a second layer of fabric underneath the outer layer and is designed with fabric paint.

“And so later on, if you want to change it up and make something look a little different, instead of wearing the same thing over and over again, you can adjust it and make it new again,” Batten said.

The inspiration behind her dual-style design is based on Batten’s observation of how her family, when hunting for deer or rabbit, would use every single part of the animal so nothing would go to waste. They would eat the meat, use pelts and skin for clothing and bones as tools, among other things. 

“So basically, [we are] appreciating what the Earth gives us and using it in a way that we can show our appreciation back,” Batten said.

Cheap, unbeatable prices 

Daniel Pelletier (whose spirit name is Megisa Magawa Tick) is Metis of Ojibwe and French origin. He is also the owner of Bear’s Den Native Crafts in London where he sells a variety of products including his own hand-crafted drums and real raccoon tail hats.

Girl with shoulder-length auburn hair sits in a gray sweater and man with long braided grey hair and wearing a black and orange jacket stands next to her.
Pelletier’s daughter, Natalie, personally designs fringe earrings for the store. (Arfa Rana/CBC)

Pelletier’s daughter, Natalie, designs fringe earrings for the shop. She said Indigenous designers and craftsmen pour hours into everything they create and some of those designs end up as fast-fashion sold for a much lower price.

Fast-fashion is a term used to describe cheap clothing that is mass produced but also of such low quality that it often fails to last longer than a few months.

“Then you have native artists who are trying to create and make, and they can’t sell their product to people because ‘Oh I can get that for a dollar [elsewhere]’,” said Natalie.

A lose-lose game

However, buying from fast-fashion brands is a lose-lose game. Dirt-cheap clothes and accessories stolen from Indigenous creative types aren’t meant to last long and put Indigenous designers and artists at a disadvantage. The short-lived products also often end up in landfills.

Red, orange, yellow and green fringe earrings with a small turtle design shown on rack.
“I think I’ve re-made one pair of earrings probably like eight times because I just wouldn’t sell them, the way that they were,” Natalie said. (Arfa Rana/CBC)

“I sell leather belts, they’re real leather belts, they’re $40 plus your tax,” Pelletier said. “You can buy a belt around the corner from here for $10. I always tell people ‘Good luck with that’. A $10 belt would last you, if you’re lucky, three months. A $40 belt would last you three years.” 

Nevertheless, Pelletier and his daughter take pride in their creativity and said they won’t sacrifice their quality to compete with fast-fashion giants.

“I think I’ve re-made one pair of earrings probably like eight times because I just wouldn’t sell them, the way that they were,” Natalie said.

Pelletier’s been running Bear’s Den for over 12 years and is inspired to continue selling high-quality, sustainable products through the positive feedback he receives from customers.

“Every week, weekends especially, when people come in the store… I get ‘Wow’, ‘This is amazing’, ‘My God, I’ve never seen any place like this before”,” said Pelletier.

He added, “Thank you Creator for the gift, thank you for helping me help people.” 

New multimedia dance work exploring water features photography and poetry

New multimedia dance work exploring water features photography and poetry

I didn’t know it was possible to find such pleasure in traveling back and forth across a stage in a line until I began rehearsing with Pam Kuntz and the community of dancers involved in “Tidal” — a new multimedia dance work featuring the photography of Helen Scholtz and the poetry of Jessica Ardis. 

Charles Halka’s splashing, bubbling and flowing sound-score accompanies the piece, which premieres Oct. 5–8 at the FireHouse Arts and Events Center. 

In “Tidal” the dancers speak and even sing. And then there’s the fabric and the gorgeous projected images of water and reflections. The cast of 16 dancers/co-creators spans five generations and includes a public defender, current and former dance students, therapists, movement practitioners, moms and past collaborators. 

photo  Pamela Kuntz walks the dancers of “Tidal” through some edits for their routine during a rehearsal. (Andrew Ford/Cascadia Daily News)  

Many of the dancers are over 50 and the oldest is 80. At 39, I fall somewhere in the middle.

In bringing this group together Kuntz said, “We are constantly navigating our meeting points with each other.” 

What could be seen as limiting — working with different schedules and changing abilities — has helped inform the structure. Tasks and watershed moments help guide the dancers on their journeys, and choices are constantly being made as dancers maintain an awareness of each other and the audience.

“Movement improvisation is one of my great loves, so experimenting with various combinations of people and images/metaphors has been wonderfully fulfilling,” dancer Lucy Morse said. “Pam’s process is graceful and generous, funny and thoughtful, so if something doesn’t work, she has asked for our input.”

photo  The group of 18 dancers range in age from 18-79. (Andrew Ford/Cascadia Daily News)  

At times “Tidal” diverts away, though not entirely, from traditional dance movement in favor of recognizable gestures, such as swimming and “signing” and pedestrian tasks.

Kuntz invites audience members to experience a sense of participation in the dance. In rehearsal, my partner in the movement study “This/That,” Tracy Rienstra, offered a hand and somehow we ended up with her standing and walking on my feet. Virtuosic movement? Maybe not. Human? Yes.

Although it was initially conceived as an examination of water, Kuntz said, “The piece ended up being more about making choices and the results of those choices in our world, on the other humans and on the planet.” 

photo  The dancers are backdropped by hanging cloth that reflects images of nature and water from projectors. (Andrew Ford/Cascadia Daily News)  

Kuntz cites her personal experience from the flooding from the Nooksack River in 2021 and the global increase in water-related disasters as informing the piece. The world of “Tidal” draws surprising parallels between the way water behaves and what it means to be a human. 

There are moments of wonder and calm within shared experiences, while other “moving pictures,” such as those reciprocally inspired by Ardis’ “Wake” poems, examine how destructive behaviors intersect on a human and an environmental level.

Sholtz uses a macro lens to capture moments in time and, as she puts it, “the things that we pass by every day.” Ardis’ poetry is embedded in “Tidal” and is interwoven into the choreography and performance. The “Wake” poems came directly out of a free-write session involving Kuntz, Halka, Ardis, Scholtz and early collaborators Cara Congelli and Bailey Krager. 


photo

Dancers flow back and forth through the dance hall with smooth, random motions that mimic tides.

(Andrew Ford/Cascadia Daily News)

Throughout, “Tidal” words clarify, contain and add depth and discernible meaning to the movement. Halka dove into the creation process using lists of descriptive words, a video of the May 2023 work-in-progress showing and access to images and poetry.

Halka’s collected sounds, including the dancers’ recorded voices, waves on Whidbey Island, and the sound of rain in his own backyard, at times spread and multiply like ripples on the surface of water. 

Kuntz said she hopes the duets and relationships that emerge among the dancers along with the atmospheric elements in the sounds, images and poetry will help audience members “see how they live in the world, not only how they live with other people.”

photo  Pamela Kuntz is held by her dancers as they pose for a group photo. (Andrew Ford/Cascadia Daily News)  

Regarding building community, dancer Rebecca DeGraw said saying yes to this process took courage. 

“Being seen and respected fuels my ability to keep saying yes,” she said. “It has helped me adjust my outlook on my aging process and my health challenges. I feel so much more accepting of my changing abilities and celebrate how I show up now.”

“Tidal” shows at 7 p.m. Oct. 5–7 and 5 p.m. Sunday, Oct. 8 at the FireHouse Arts and Events Center, 1314 Harris Ave. Tickets are pay as you like, minimum $1, suggested $20. Advance ticket purchases are recommended, as performances will sell out. Info: kuntzandco.org

Man sentenced for posing as Arizona tribe member to sell artwork

Man sentenced for posing as Arizona tribe member to sell artwork

SEATTLE  — A Washington state man who falsely claimed to be a member of the San Carlos Apache Tribe in Arizona to sell his artwork at downtown Seattle galleries was sentenced Wednesday to federal probation and community service.

The U.S. attorney’s office said Lewis Rath, of Maple Falls, was sentenced Wednesday in U.S. District Court to two years probation and 200 hours of community service. He was charged in 2021 with multiple crimes including violating the Indian Arts and Crafts Act, which prohibits misrepresentation in marketing American Indian or Alaska Native arts and crafts.

An investigation started in 2018, when the Indian Arts and Crafts Board received a complaint about Rath, according to the U.S. attorney’s office.

Rath sold carved wooden totem poles, transformation masks and pendants to Seattle retail stores, the attorney’s office said.

Agents searching Rath’s residence also recovered feathers from birds protected under the Bald and Golden Eagle Protection Act and the Migratory Bird Treaty Act, according to results from the National Fish and Wildlife Forensic Lab.

“Counterfeit Indian art, like Lewis Anthony Rath’s carvings and jewelry that he misrepresented and sold as San Carlos Apache-made, tears at the very fabric of Indian culture, livelihoods, and communities,” U.S. Department of the Interior Indian Arts and Crafts Board Director Meridith Stanton said in a Justice Department statement. “Rath’s actions demean and rob authentic Indian artists who rely on the creation and sale of their artwork to put food on the table, make ends meet, and pass along these important cultural traditions and skills from one generation to the next.

Stanton also said his actions undermine consumers’ confidence in the Indian art market in the Northwest and nationwide.

Jerry Chris Van Dyke, also known as Jerry Witten, 68, of Seattle, also pleaded guilty to violations of the IACA in March. He was sentenced on May 17 to 18 months of federal probation.

Fairmont State University photography students submit art for Mtn Craft Film Festival gallery

Fairmont State University photography students submit art for Mtn Craft Film Festival gallery
image

CLARKSBURG, W.Va. (WV News) — Fairmont State University photography students are getting to see their work presented in a gallery at the Mtn Craft Film Festival this week, an achievement that their professor hopes will give them real-world experience and confidence in their work.

Fairmont State University Associate Professor Jared Tadlock said that the film festival — which is being held this weekend at the Robinson Grand Performing Arts Center in Clarksburg — reached out to Fairmont State to suggest a gallery space at the venue displaying work by the students, something to which Tadlock was very excited to agree.

A day of remembrance: artists paint a mural in Art Alley for Orange Shirt Day

A day of remembrance: artists paint a mural in Art Alley for Orange Shirt Day

BISMARCK, N.D. (KFYR) – When Phyllis Webstad was six, in 1973, she was sent to an Indian boarding school.

She wore the orange shirt her grandmother bought her on her first day.

When she arrived, she and the other children were forced to change into new clothes, and her shirt was taken away from her. She never saw it again.

In 2021, Canada declared September 30 as the National Day for Truth and Reconciliation, known more commonly as Orange Shirt Day. It’s not officially recognized as a holiday in the U.S. yet, but many people wear orange shirts and remember those affected by the injustices of the Indian boarding school system.

This year, relatives of boarding school survivors are creating a mural to remember both those who did and didn’t come home.

“People tend to think of it as historical, and doesn’t touch our generations today, but it does. The purpose of this mural is not only to educate. The purpose of Orange Shirt Day is so that even our non-native neighbors will have an understanding of what our people, indigenous people, have endured,” said Agnes Yellowbear, one of the artists creating the mural and a daughter of a boarding school survivor.

Melanie Moniz and her daughter in front of the mural she and Agnes Yellowbear are painting for...
Melanie Moniz and her daughter in front of the mural she and Agnes Yellowbear are painting for Orange Shirt Day(KFYR-TV)

In 1879, the Carlisle Indian Industrial School opened in Pennsylvania. Thousands of students from more than 140 tribes walked through the school’s doors before it closed in 1918, but the effects of the trauma inflicted on many of the students who attended still have a lasting impact today.

According to the Carlisle Indian School Project, Carlisle was one of at least 408 federal Indian boarding schools in the U.S. The schools were meant to assimilate indigenous children into American society by erasing their native heritage.

Two indigenous boys who lived in North Dakota, Edward Upright and Amos LaFromboise, were sent to Carlisle in 1879. They were among the 186 children who died at the school, and their bodies are only just now coming home.

The project’s website said that many students were subjected to both physical and sexual abuse at Carlisle and the other boarding schools.

“My father has shared a lot, from his first years in life until he was six years old when authorities came to take him and his two younger siblings. He told me about the day, he remembers all of it. He remembers the punishment, the cruelty,” said Yellowbear.

Yellowbear said the trauma inflicted on her father has carried over into following generations, and it was a cycle she had to break.

She said the butterflies and dragonflies in the mural she’s been working on with fellow artist Melanie Moniz represent resilience and strength.

Moniz said they’re also seen as carriers of spirits.

The 18 flowers in the mural represent the 18 Indian boarding schools that have been identified so far in North Dakota alone.

“The hope and the goal of this mural is to empower those most impacted and bring awareness because ultimately we can’t create a better North Dakota if we don’t have all of the truth and all of the discussions on the table,” said Melanie Moniz, the other artist working on the mural and daughter of a boarding school survivor.

In 2022, the Interior Department reported that more than 500 children had died across the 400 schools identified in the U.S. They said they found 50 gravesites, but that they’d likely find more.

A Remembrance Walk will be held tomorrow from 2 p.m. to 6 p.m. starting at Custer Park. The finished mural will be unveiled around 3:30 p.m. at Art Alley.

Native artist’s sculptures installed by new tribal building near New Town

Native artist’s sculptures installed by new tribal building near New Town

Artist Monte Yellow Bird Sr. stands by his military sculpture, “Remember who you are, Remember where you come from, you will always be remembered,” shown in this photo by Karen LoneFight. This and another sculpture were placed near the new Mandan, Hidatsa and Arikara Nation’s new Administration Headquarters, west of New Town.

NEW TOWN – Sculptures by native artist Monte Yellow Bird Sr., known to the art world as “Black Pinto Horse,” were installed on Tuesday in the southern courtyard of the new Mandan, Hidatsa and Arikara Nation’s new Administration Headquarters, west of New Town.

Various art/design projects for the new tribal building were originally put up on bids by the Mandan, Hidatsa and Arikara Nation to artists.

Yellow Bird said he submitted bids for these two sculptures and was fortunate to have been chosen. The two themes for these projects were spirituality and a military memorial.

The military sculpture, “Remember who you are, Remember where you come from, you will always be remembered,” reflects the Vietnam era, although it honors all the military branches, from those who are presently serving and who have served in the past as well as recognizing the first indigenous warriors of this continent as many of our tribe’s service men and women are descendent of,” said Yellow Bird.

“I chose this era because it was a very significant conflict/war/police action to me personally as I watched it on our first black-and-white TV as a young boy. It also influenced me artistically in my early years as a young artist and it was reflected in my earlier art themes.

This spirituality-themed sculpture, “Stand before all of creation and remember all the people with prayer,” by artist Monte Yellow Bird Sr., was installed near the Mandan, Hidatsa and Arikara Nation’s Administration Headquarters, west of New Town, along with another sculpture by Yellow Bird. Photo by Karen LoneFight.

“As I began to develop as an artist my themes began to focus on spirituality, and formed the foundation of later work, although my new work is still tied to my earlier influences and original themes of warriorship, honor, traditions and culture. It became the catalyst for my interest in 1800s Plains Indian ledger art, which I am currently known for today and have collectors worldwide,” he said.

The second sculpture is “Stand before all of creation and remember all the people with prayer.”

Yellow Bird said the sculptures were placed near the Administration Headquarters on “two beautifully designed pedestals.”

A member of the Mandan, Hidatsa and Arikara Nation, Yellow Bird grew up at White Shield. He attended the Institute of American Indian Arts in Sante Fe, New Mexico, and graduated in 2004 from Minot State University with a bachelor of fine arts degree. His achievements include being the only U.S. artist to be selected to represent the United States and his Native people at the 2021 Dubai Art Expo, a three-day gathering of more than 500 artists from more than 170 nations. Yellow Bird lives in New Mexico, where he owns and operates Black Pinto Horse Fine Arts, a fine arts and educational company, at Rio Rancho.

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7 Rite of Passages Photographers Go Through

7 Rite of Passages Photographers Go Through

There are some shots, shoots, or situations that are simply a rite of passage for photographers learning the craft. Here are seven examples most photographers have experienced. How many have you gone through?

Now, we can’t all go through every rite of passage and I doubt anyone will get every entry on this list, but let me know in the comments how many applied to you and what ones I missed.

1. Steel Wool

I can turn my nose up all I like at steel wool photography, it’s still damned cool, fun to shoot, and my first successful photograph (seen above) used the technique, albeit I went a little too far. The above shot was taken by setting fire to an entire 50 cm wheel of fine-grade steel wool, standing on a roof, and hurling it around with a homemade contraption.

Still, it’s one of those types of shots that as a new photographer, you cannot resist the allure of trying, and nor should you!

2. Friends and Family Wedding Inquiry

In all honesty, I have lost count of how many times I’ve had inquiries for weddings of those I know, and against my better judgment and the advice of fellow photographers, I even took some of them on. Perhaps having your friends and family (and their friends and family) reach out to you to see if you would photograph their special day is purely a compliment — a sign that you’re creating decent images — but it does feel as if there are several other motivations.

If you have never had an inquiry, fear not, one is likely coming soon! And fair warning: it’s harder than it seems.

3. Pet Portrait Shoot

If you have a pet and you take up photography, that pet’s free time is going to be impacted — there’s no escaping it. For the first few years, every lens, every light, and every backdrop I received, my dog, cat, or praying mantis was going to be drafted in for some unpaid work. If they’re obedient, and the dog above was nothing if not obedient for my camera, then they act as invaluable subjects. Also, a snapshot I took of my dog in the rain ended up on a get-well-soon card and I got royalties for years, so he earned his keep!

4. Vintage Lenses

This is a little more specific — perhaps only to me and the photographers I know well — but the vintage lens phase was incredible (and not entirely over for me). Buying new lenses is so expensive; even used lenses are not cheap. This is a disappointing truth to the wide-eyed, experimental, new photographer who just wants to try every lens they can. This is when you discover that adapted vintage lenses, at the cost of autofocus, can give you an enormous selection.

I ended up buying quite a few vintage lenses, most of them useless but with the occasional gem, and as recently as this month, I was looking at a vintage projector lens to adapt to my Fujifilm GFX 50R. This might be my favorite rite of passage, and few things have evoked the level of joy I got from discovering a $100 lens called the “bokehmonster”. Speaking of bokeh…

5. The Bokeh Obsession

When you start photography, many people get drawn to those portraits taken with an 85mm f/1.2 that were top of 500px constantly; I was one of them. That crazy subject-background separation, with the cinematic vista of translucent orbs, is reasonably hard to replicate on a budget. If you’re comfortable with forgoing some of the extreme bokeh, you’ll be fine, but if not, you need thousands of dollars or a penchant for vintage and obscure lenses.

I’m still in this rite of passage and I will likely die on the bokeh hill, but that’s another article.

5. Street Photography

Some types of photography are just a bit… dorky. Macro photography is one of my favorite genres of the craft, but it isn’t “cool.” However, some types of photography have images that are iconic, photographers that are artists, and collections that furnish gallery walls. One of those is street photography, and most new ‘togs go through a phase with it. Some of those will go on to become street photographers — I’m openly envious of you — but most seek more financially viable genres or gravitate toward other areas.

6. Over-Editing

The above portrait was one of my first, inspired by a trend of HDR black-and-white portraits that were doing the rounds back in 2011ish. I couldn’t believe the positive reception I got for it (and in retrospect, I’m even more surprised), and I distinctly remember being elated with how “sharp” it was. What an idiot. Nevertheless, to find your balance, you sometimes have to go (miles) too far and then dial it back, and that’s what all photographers do when they first start. It didn’t help that when I started photography, HDR was just emerging as a trend, so I was doomed.

7. A Ridiculous Watermark

To give myself a slight break from the self-deprecation, I wasn’t too bad with watermarks. The worst example I could find was from the above shoot, which was my second time as press at Motorsport at the Palace. The first time I went, I sold some of my panning images to the drivers and was thrilled. However, some drivers stole the images from my website and didn’t pay the meager fee I asked for the full-sized digital file, so the next year, I nuked them with a watermark.

There’s a large debate on whether watermarks are worthwhile at all, and I think the instances are fewer and fewer these days, but if they annihilate your artwork, get rid of them!

Final Thoughts

There’s no way to do an exhaustive list of these sorts of rites of passage we photographers go through, and there were a few more I wanted to add, like the social media follower obsession, or worshiping golden hour, or shooting in Manual mode without a good reason. Now, I want to know your rites of passage, either that you’ve gone through yourself, or you’ve noticed lots of photographers bumping into as they get to grips with the craft. Share them in the comment section below.